Performing Shakespeare in modern times is an act of mediation between characters and actors, creating channels between geocultural spaces and time periods. The multiplicity of the plural term global Shakespeares helps us push back against deceivingly harmonious images of Shakespeare’s ubiquitous presence. Adaptations accrue nuanced meanings as t…[Read more]

Four themes distinguish post-1950s East Asian cinemas and theaters from works in other parts of the world: Japanese innovations in sound and spectacle; Sinophone uses of Shakespeare for social reparation; the reception of South Korean presentations of gender identities in film and touring productions; and multilingual, disability, and racial…[Read more]

The idea that Shakespeare is a global author has taken many forms since the building of the Globe playhouse in London in 1599. Performances of Shakespeare not only create channels between geographic spaces but also connect different time periods. Divided into two major sections, Shakespeare and World Cultures and Shakespeare and Genres, the…[Read more]

“Hace ya veintiséis años se publicó una colección de ensayos en homenaje a la historiadora Natalie Zemon Davis que incluía un capítulo llamado “People of the Ribera: Popular Politics and Neighborhood Identity in Early Modern Barcelona”. En él, su autor, a quien ahora dedicamos esta obra, delinea brevemente una metodología para analizar el perfil s…[Read more]

This article explores how certain dramatists in early modern England and in Spain, specifically Ben Jonson and Miguel de Cervantes (with much more emphasis on the former), pursued authority over texts by claiming as their own a new realm which had not been available – or, more accurately, as prominently available – to playwrights before: the sta…[Read more]

Comparative studies have revealed uncanny similarities between the theatrical cultures of Shakespearean England and Golden Age Spain, and in particular between the Elizabethan amphitheaters and the Spanish corrales de comedia (courtyard playhouses). Contrary to conventional wisdom, however, Spain’s (and, in particular, Madrid’s) courtyard the…[Read more]

Comparative studies have revealed uncanny similarities between the theatrical cultures of Shakespearean England and Golden Age Spain, and in particular between the Elizabethan amphitheaters and the Spanish corrales de comedia (courtyard playhouses). Contrary to conventional wisdom, however, Spain’s (and, in particular, Madrid’s) courtyard the…[Read more]

Young Michelangelo Buonarroti’s experience was deeply marked by his cult of Antiquity, reverberated in the creation of artworks such as the Sleeping Cupid and the Bacchus and shared with Raffaele Riario and Jacopo Galli, his patrons during his first stay in Rome (1496-1501).
The cardinal-camerlengo Raffaele Riario was an important promoter of t…[Read more]

The peculiar iconography of the winged horse surmounted by several puttos, as appears in the Hypnerotomachia Poliphili sixth woodcut, turns out to be unprecedented and enigmatic at a glance and it’s the result of the depth and complexity of the author’s concepts.
Considering the iconographic details of the sculptural group as well as the text sca…[Read more]

Going to the theater was one of the most distinctive-as well as conspicuous-cultural activities to take place regularly in early modern european cities. Precisely because so many people from all walks of life partook of this highly visible pastime, public theaters became spaces wherein social and cultural boundaries between spectators were easily…[Read more]

This article explores the change in dynamics between matter and style in Shakespeare’s way of depicting distress on the early modern stage. During his early years as a dramatist, Shakespeare wrote plays filled with violence and death, but language did not lose its composure at the sight of blood and destruction; it kept on marching to the beat o…[Read more]

Global studies enable us to examine deceivingly harmonious images of Shakespeare. This chapter focuses on the modern period and introduces readers to a number of key concepts in Shakespeare and global studies, namely censorship and redaction, genre, gender, race, and politics of reception. Performing Shakespeare not only creates channels between…[Read more]

Preliminary data set of measures from Michiel Coignet’s “reigle platte” and comparison of the weights of substances with data in Kepler’s table of specific gravities in MesseKunst Archimedis. Michiel Coignet, Usus duodecim diuisionum geometricarum, Brussels, KBR, II 769, folio 40r. Data associated with a forthcoming article in Early Science and…[Read more]

This chapter, “Owning Chinese Shakespeares,” pursues the critical concept of localization and critiques the fidelity-derived discourse about cultural ownership. How were Chinese Shakespeares used as a kind of staged utopia of modernity?

Underlying this study are three related lines of inquiry united by what might be called locality criticism, t…[Read more]

Thanks to Karl Marx’s references in his political treatises, Shakespeare held a significant place in a number of communist and other left-authoritarian countries, including China and the USSR. And although there were themes in Shakespeare that turned out to be inconvenient for communist ideology, other Shakespearean plays were put into service. I…[Read more]